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Haunting, sublime, very very beautiful

10/05/2003

(5 out of 5 stars)

"When this record was first issued in the early 70's it received relatively little attention; which is astonishing, since it is possibly the most perfect and memorable production of the entire British folk music movement. It combines the nostalgic medievalism of that period with a visionary appreciation for the works of contemporary songwriting; its songs seem to rise from some old and fragrant mist, revealing glimpses of strange and beautiful landscapes, mortality and its darkness, and mythic depths of a world that lives apart from its human tenants. And the really miraculous thing is that this is all accomplished with an almost homespun straightforwardness, altogether without any silly fairytale falderal or bombastic self-importance. Such a wonder can only have been wrought by the most confident musicianship. I have listened to this record more than a hundred times, and hope I live to hear it a hundred more; its beauties remain unfaded; indeed sometimes it seems to be beyond the making of human hands and voices. It is, instead, the work of some forgotten gods, who wear tattered leather great coats and muddy boots."

''...and I'll tak oot his bonny blue e'en''

A. Ryan | 03/12/2007

(5 out of 5 stars)

"This, along with Rosemary Lane, is, in my opinion, one of Bert's two greatest albums; more consistant and satisfying than the erratic brilliance of his better work. Something that usually isn't commented on is Tony Visconti's production; I don't know how the man himself rates this in the context of Bolan & Bowie, but he did a superb job. Some beautiful baroque arrangements grow fluidly from the understated guitar on the opener, Yarrow, and Bert himself sings life into the old formulaic tragedy of the ballad. Following this, Brought with the Rain seems almost like a folk-myth, faded with time and of unclear meaning, with a passionate vocal and embryonic accompaniment of circular guitar patterns and harmonica from Ralph McTell. Another beautiful arrangement and performance on The January Man, Bert's own Moonshine, and others. Very striking is Twa Corbies, in antique dialect and with grim imagery; two crows talk over the dead man they've come across, and manage to muse over his transitory existence (by now, his hunting hound is gone, his woman has found another, and nobody knows where he lies) and discuss what a good meal he'll make them. Not every piece on the album seems fully developed, but those that aren't are in no way 'throwaway', merely looser in feel and imagery. Not a perfect album, but one so full of quietly brilliant moments throughout that it is definitely worth gettin' hold of."